The Madonna of Rome

The small-dimensional panel once formed the right side of a folding diptych where its left (today missing) wing was probably decorated with a half-length figure of the Grievous Christ. The work was initially an object of private devotion executed for some of the noble members of the contemporary either Church or secular elites. The painting of the Madonna and Child suggests that the artist was very close in style to the circle of the Master of the Vyšší Brod Altarpiece, and the closest in motif to The Madonna of Zbraslav (see the two Madonna’s crowns, the ring and the goldfinch held by the Baby Jesus). Despite its small dimensions, the panel abounds in various types of hallmarking and gilded patterns.